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Dance Shoes Directory, Info @ Tex.in
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Dance Shoes Directory, Info, Dancing Shoe Links & Web Sites @ Tex.in
See also the following sections under Footwear @ Tex.in
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Content derived from Wikipedia article on Pointe Shoes
Pointe shoes From Wikipedia, the free encyclopedia
A pair of pointe shoes.Pointe shoes, also known (less correctly) as toe shoes, are a special type of shoe used by ballet dancers for pointework. They developed from the desire to appear weightless onstage and have evolved to allow extended periods of movement on the tips of the toes (en pointe). Pointe shoes are normally worn only by female dancers, though male dancers may wear them for certain roles, such as the ugly stepsisters in Cinderella, Bottom in A Midsummer Night's Dream, or men in dance companies such as Les Ballets Trockadero de Monte Carlo.
Contents
1 History of pointe shoes 2 Modern pointe shoes 3 See also 4 References 5 External links 5.1 Pictures
History of pointe shoes
High-heeled dancing shoes, circa 1835.In 1661, King Louis XIV of France founded the Royal Academy of Dance; however, women did not appear onstage until 1681. The standard women's ballet shoes at this time were heeled. Marie Camargo of the Paris Opéra Ballet was the first to wear a non-heeled shoe, to allow her the ability to do more complicated jumps. After the French Revolution, the standard ballet shoe no longer had a heel. It was flat and tied up with ribbons. It had pleats under the toes and allowed dancers to fully extend their feet, jump, and turn.
The first dancers to rise up on their toes during this period did so the with help of an invention by Charles Didelot in 1795. His "flying machine" lifted dancers upward, allowing them to stand on their toes before leaving the ground. This lightness and ethereal quality was received well by audiences who especially liked when a dancer lingered on her toes. Due to this, choreographers looked for ways to incorporate more pointework into their pieces.
As dance extended into the 1800s, the emphasis on technical skill increased, as did the desire to dance en pointe without the aid of wires. When Marie Taglioni first danced La Sylphide en pointe, her shoes were nothing more than satin slippers, darned at the ends. The sole was made of leather and the sides and toe were darned to keep its shape. Dancers relied heavily on their own strength, in the feet and ankles, without the support of a hard pointe shoe. They most likely padded the toes for some comfort.
The next substantially different form of pointe shoe was found in Italy in the late 1800s. Dancers like Pierina Legnani wore pointe shoes which were not as pointed as earlier ones, having instead a sturdy, flat platform. These shoes also included a box, made of many layers of fabric, and a stronger sole. The Italian shoe style was imported into Russia where it was transformed further. They had no nails in them and were only stiffened at the toes, making them silent.
In the 1930s, Broadway dancers like Harriet Hoctor wore shoes with steel shanks, allowing for "toe-tapping". This style extended into the 1950s. However, during World War II, supplies were short and pointe shoes were in just as short supply. Dancers had to strengthen their feet to dance in shoes that were worn to shreds.
As shoes became harder to cope with increasing technical demands, flexibility of shoes decreased, no longer allowing dancers to feel the floor. Experimentation with many different styles has increased over the decades resulting in a large variety of pointe shoes and styles.
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Modern pointe shoes
Dancers now use satin pointe shoes with a hard but pliable shank and a box made up of layers of canvas, hessian, paper and glue. Because the shoes are very hard when new, most dancers develop idiosyncratic methods to break in their pointe shoes, including pounding the shoes against cement, hitting them with blunt hammers, bending them on a door frame, or simply massaging the shoe with their hands. The need to break in pointe shoes is to maintain sufficient rigidity in the shoe to ensure support yet have the flexibility to allow fluent movement. The safest method of breaking in pointe shoes is to walk around in them and rise from quarter, to demi, to three-quarter pointe, allowing the shoes to mould to the feet. More extreme tactics, as explained above, can reduce the lifespan of the shoe and cause excessive damage.
Seasoned dancers select new pairs of pointe shoes carefully, checking that they are even and balanced, and usually have a favorite brand, model, and even maker. Recently, the Gaynor Minden company has developed a pointe shoe made from synthetics. The box and shank are made from a material called elastomer, and do not require breaking in. They are not as widely used as the traditional paper and glue pointe shoes. Some teachers advise against using Gaynor Minden shoes, because it can allow the student to "cheat". Traditional paste pointe shoes soften over time, so the dancer chooses a harder shank to break in to their desired rigidity. However, some do not realize that Gaynor Minden shanks do not soften as much over time, but still buy a shoe with a stiff shank. Some dancers also do not like the lack of pleating on the back edge of the platform, or the orange-ish pink color of the satin used in Gaynor Minden shoes.
There are many different types of pointe shoe, and each fits the dancer in a different way. The pointe shoe should be tight, with only a pinch of cloth at the heel when the pointe shoe is en pointe. Two ribbons wrap around the dancer's ankle, sometimes with an elastic band that wraps around from the back of the heel, to the front, and then back to the back of the heel; or across the instep as with ballet shoes; or is attached with a loop on the heel which the ribbons pass through. This last method, however, has been shown to cause achilles tendonitis in many dancers and is no longer recommended. The shank of the shoe comes in two different sizes, 3/4 and full shank. The full shank is traditionally for the dancer who has a strong arch, and needs more support than the 3/4 can offer. The full shank was used in the original pointe shoe. The 3/4 is shorter, and helps dancers go up on pointe with more facility. There is a wide variety of pointe shoes that have different attributes and longevity. The choreography will often dictate the type of shoe required: the supple, lyrical style of the white swan, for instance, requires a softer shoe, while the black swan's dazzling turns are best done in a hard, stiff shoe.
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Pointe shoes are usually covered with satin. The shoes have two important structural features that allow the dancer to dance on the tips of her toes:
Parts of a pointe shoe. This particular shoe model is unusual in that the leather sole is split.the box is a section of burlap stiffened with glue, that encases and supports the dancer's toes. The end of the box is covered with satin and flattened into a platform, upon which the dancer can balance. the shank is a strengthened piece of material (usually many layers of glue-hardened burlap, thick leather, or sometimes plastic) running near to the length of the dancer's sole. It provides support to the arch of her foot as she stands en pointe. Pointe shoes are usually made in light pink colors varying from peachy-pink and bright pink to very pale pink. White and black pointe shoes are also very common, but many pointe shoes can be specially ordered in almost any color. At dance supply stores, pointe shoes retail for anywhere between $35.00 and $110.00. Non-professional students usually pay about $40.00-80.00 for one pair of shoes, which will last (with major fluctuations depending on the strength of the dancer's feet, her weight, the type and strength of the shoes, and the amount of time spent en pointe) for about one to three months. Higher level dance students, who usually take several pointe classes a week, can often go through one or more pairs monthly. Professional dancers go through pointe shoes much more quickly and order shoes in bulk directly from manufacturers - one pair can "die" after twenty minutes of a performance. Many professional ballet companies offer shoe allowances to their dancers, allotting a certain number of shoes to each dancer per season, depending on her position in the company.
Before beginning pointe work, some dancers use a demi-pointe shoe. This shoe, also called a pre-pointe shoe or a soft-block, has characteristics of both a soft ballet slipper and a regular pointe shoe. Its outer appearance resembles that of a pointe shoe. It has a toe box similar to the one in a pointe shoe, but it is much softer and the wings (sides of the toe box) often cover a smaller portion of the toes. The most important difference between demi-pointe shoes and pointe shoes is that demi-pointe shoes have no shank. Therefore, they do not give the necessary support for a dancer to actually stand on her toes in them, and to do so would be extremely dangerous. Rather, their purpose is to accustom the dancer to the feel of wearing a pointe shoe, so she is already used to it by the time she is ready to dance fully en pointe. Demi-pointe shoes are not necessary for learning pointe, but they can be a useful learning tool.
It is also important that young girls be fitted for pointe shoes by a professional. Shoes that are too small or too large can cause serious problems from technique issues to chronic injuries.
See also Marie Taglioni Ballet
References Barringer, Janice, Schlesinger, Sarah [1998] (2004). The Pointe Book, 2nd ed., Hightstown, NJ: Princeton Book Company, Publishers. ISBN 0-87127-261-X.
External links Pointe shoes at the National Ballet of Canada How to fit a pointe shoe How to fit a pair of Grishko pointe shoes How to fit a pair of Sansha pointe shoes Why Gillian Murphy (Principal, American Ballet Theatre) loves and wears Gaynor Minden pointe shoes
Pictures Wikimedia Commons has media related to: Category:Pointe shoesPointe shoes for the role of Odette in Swan Lake Pointe shoes for the role of Odile in Swan Lake Margot Fonteyn's pointe shoes, signed on June 9, 1963 X-ray of a dancer's foot en pointe Retrieved from http://en.wikipedia.org/wiki/Pointe_shoes
End of Wikipedia content, http://en.wikipedia.org/wiki/Pointe_shoes
Content derived from Wikipedia article on Organ Shoes
Organ shoes From Wikipedia, the free encyclopedia
Organmaster organ shoes, in women's (L) and men's (R) styles.Organ shoes are special shoes an organist wears to facilitate playing (or “pedaling”) of an organ pedalboard.
Few shoes are designed specifically for organ playing. However, many types of footwear have characteristics that make them suitable for use as organ shoes, depending on the needs and preferences of the individual organist.
The Tic-Tac-Toes Bravo, one of the few purpose-made men's organ shoes.The typical features of an organ shoe are:
A flexible, lightweight leather or synthetic upper held snugly to the foot by a lace, strap, or ribbon. The material should allow the organist’s feet to glide against each other without sticking together. A soft, flexible leather sole that allows the organist to slip her foot easily both up and down a pedal and across pedals. The sole should be thin enough to feel the pedals easily, and it should not extend beyond the sole of her foot. A slight heel of about an inch in height, and wide enough so that it cannot become wedged between two pedals. There are some additional considerations:
The Capezio Teaching Sandal. Attractive, lightweight, flexible, and possessing a good heel, this dance shoe illustrates the characteristics of a good organ shoe.The organ shoes, whatever their type, should be dedicated to pedaling and worn only at the organ to avoid damaging their soles or picking up grit or grime that could scar or stain the pedals. Aesthetic concerns may also be important for organists who perform in public; in these cases, the shoes should work nicely with the rest of the organist’s attire. Performers of classical works and church organists usually prefer a muted look, while performers of popular repertoire may choose brighter or more noticeable shoes in order to highlight their pedaling. Many shoes with some or all of these characteristics may serve well; the choice tends to be rather personal. While some men may wear leather dress shoes, these usually have soles that are too thick and stiff for accurate pedaling. Women’s fashion is more varied than men’s, and this trend extends to organ shoes. Because pedaling is similar in several respects to dance, shoes made for the latter purpose are often especially suitable for the former. Many girls and women play organ in ballet slippers, which some consider to be the perfect organ shoe. They are soft, comfortable, attractive, inexpensive, and readily available in a variety of colors. Being very lightweight, they allow the organist to move her feet quickly, and they have brushed leather soles that are ideal for pedaling. The organist may also choose between split-sole ballet slippers, which allow the greatest possible flexibility short of playing in bare feet (see discussion below), or full-sole ballet slippers, which may improve the shoe's gliding characteristics at the cost of a slight loss of flexibility.
Other styles of dance shoes often recommended or worn as organ shoes. From top: 1) soft split-sole ballet slippers, for maximum flexibility; 2) soft full-sole ballet slippers, for improved glide; 3) Capezio character shoes, with heels; 4) Bloch Grecian Sandals, with heels and greater flexibility.
End of Wikipedia content, http://en.wikipedia.org/wiki/Organ_shoes
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